For their 163rd episode, two leather jacket film critics, two un-helmeted dads, and two wild one teachers, Will Johnson and Don Shanahan, come together for a new release of the summer 2024 movie season. The guys rev themselves up to welcome back writer-director Jeff Nichols with The Bikeriders starring Austin Butler, Jodie Comer, and Tom Hardy. Neither of our hosts rides motorcycles, but they came to this movie with their own gassy exhausts and asphalt-rattling rumbling.
Read MoreAmid the ostentatious theatricality of actors making all kinds of noise in The Bikeriders, the other sound the film absolutely nails is the unmistakable deep bass rumble caused the asymmetrical arrangement of firing cylinders in Harley-Davidson engines. One by itself will get your attention. Five rolling together will rattle your windows. A dozen or more churning as a fleet becomes an aural maelstrom. Your selected reaction to that hellacious harmony will be your tinted gateway into Jeff Nichols’ petulant film.
Read MoreThat name brings forth a gusher of overplayed stereotypes and caricatures. If you think you’re going to see the decadence of the historical figure’s prime, you’ve come to the wrong movie. If you think you’re going to see another Ben Gazzara or Bob De Niro galavanting as the king of his own court, you’ve come to the wrong movie. If anything, Josh Trank intentionally and subversively pushes back against the romanticized urban legend of “Scarface,” “Big Al,” “Big Boy,” “Snorky,” and “Public Enemy No. 1.”
Read MoreAs a big Christopher Nolan fan and supporter, this review was difficult. Critic after critic is calling Dunkirk Nolan's masterpiece and best film to date. I simply can't do that and no filmmaker should ever get a pass. In fact, it might be the worst of his films I have seen, but that's like slipping from a king-size Sleep Number mattress to a king-size pillowtop mattress. The fall isn't far. Allow me to explain. Here's my "Movie Classroom" interactive whiteboard presentation of the audio form of my written review as it appears posted on Every Movie Has a Lesson's YouTube channel.
Read MoreAs with any year, there are hot topics being debated immediately stemming from snubs and surprises. Here are my reaction and takeaways, consisting of five snubs and five surprises, coming out of this morning's nominations announcements.
Read MoreFollowing his three-trophy Oscar haul for "Birdman" last year, filmmaker Alejandro Gonzalez Inarritu returns with an even more expansive cinematic challenge. Inspired by a wild true story, "The Revenant" is an unrelenting survival drama that makes "Cast Away" look like a cute day at the beach. Powered by raw natural beauty and a constant nerve of savage peril, Inarritu's film succeeds with striking artistry and superior craftsmanship in polishing a harsh and rough-hewn legend. Four-time Academy Award nominee Leonardo DiCaprio pushes himself and you over edge after edge in the most challenging performance of his career.
Read MoreFor this writer, "Mad Max: Fury Road" is a daunting challenge for this website's definition of mindless action as a movie genre. Mindless action has its range from the trash of Michael Bay to the treasure of the "Fast and Furious" franchise. However, what separates the trash from the treasure is quality and impact. The quality speaks to the action and the impact speaks to the story being sewn along the way, even if it's secondary. The really good mindless action movies offer just enough heft of a compelling story to make the action matter and resonate beyond just superficial coolness. As incredible in stunt work and thrills as "Mad Max: Fury Road" is, it is missing too much of that heft to matter beyond being really cool to watch.
Read MoreIt is of great surprise that, for me, all I kept thinking about during "The Drop" was Michael Madsen's response-begging question from Quentin Tarantino's "Reservoir Dogs" as Mr. Blonde: "Are you going to bark all day or are you going to bite?" For too much of "The Drop," a seemingly record number of bushes are being beaten around. Don't get me wrong. A dialogue-driven and slow-boiling premise can work and has worked, worlds over, but it has to deliver at some point. "The Drop" does have a sly ending in mind and at play, but it doesn't match or make up for the tedious lead-up. Considering the talent involved, I expected more.
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